Manchevsky's movie "The Tempest is Coming" in the use of film and television art expertise in the place ~ such as the use of long shots in the film, ah composition ah, montage ah what

The Lumière Brothers didn't realize what changes film would bring to human life on the day it was born in 1895, but nowadays, film has promoted and completely changed the way we approach the world and the mode of contact, and its infinite freedom of space and time has become the best medium for us to pursue a perfect spiritual life. The real realization of the freedom of time and space in the movie is the creativity of the movie itself - editing, which allows us to walk freely in time and space, and time is no longer unattainable.

Time does not pass, the circle is no longer. This is a recurring phrase in the movie "The Coming Storm", and just like the meaning of this phrase, the structure of the movie is the same: "Time doesn't pass, the circle doesn't pass", director Manchevsky's skillful blending of settings is really amazing, and after the amazement, we find that this is not the director's artifice, but a deep thought and It's a y thought out and emotionally honest work. Let's start with the story of The Coming Storm, and then we'll analyze how the film achieves the ultimate unity of content and form through the use of editing.

The whole movie*** is divided into three paragraphs:

The first paragraph: words. Macedonia, outside an old monastery, the young priest Kori and the older priest are picking tomatoes in the sun, and the older priest says, "It's going to rain ......." Samira, a young Albanian Muslim woman, is on the run from a group of bandits led by Mitre, and the young priest Kori hides her. Mitre and his men break into the church in search of Sammila and set up camp outside the church. Overnight, Corey and Sammila become lovers. Corey decides to take Sammila to London to find his uncle who is a photographer. After they both escape from the church, they meet Samira's family on the road, who blame Samira for the trouble and force Samira to stay and drive Corey away. Sangmila tries to go with her lover and is shot by her brother, and before Sangmila dies, she uses a hand gesture to ask Corey not to say he's sorry.

The second passage: faces. London, Annie is a pictorial editoress for a photo agency. The doctor tells Annie that she is pregnant. She is faced with the choice of returning to her estranged husband, Nick, or leaving him for her lover, Alexander. At the studio, Anne receives a call from Macedonia from a young man looking for his uncle who is a photographer. She sees a photograph of a young girl in Macedonia lying in a pool of blood after being shot. Alexander, a former Pulitzer Prize-winning photographer, left his native Macedonia a few years ago to come here. Now he has made the decision to return to his homeland, and he wants Annie to go with him. Anne hesitates, and Alexander, impatient, leaves alone. At the restaurant, Anne tells her husband, Nick, that she is pregnant and that she intends to divorce him. Nick pleads with Anne to give him some time and the conflict between them will be resolved. Meanwhile, a foreigner argues with a restaurant waiter and is driven away. A few minutes later, he returns and shoots the people who are dining. Annie survives and Nick is killed, face down.

The third passage: photo. Macedonia, Alexander returns to his native village. The villagers of different nationalities are already in a state of mutual hostility. The first to greet him is a young clansman under Mitre. And Anne is in London, expecting to get in touch with Alexander by phone. Alexander goes to visit his first love, Hana, a Muslim woman who is the daughter of Hana, and Hana asks Alexander to free Samira, where he is scorned by the village Christians. Alexander's cousin is killed by Sammila when he attempts to rape her, and Mitre's gang kidnaps Sammila. At night Hana comes to Alexander and pleads with him to protect Sammila. Alexander finds the goat shed where Sammila is being held captive and is about to take Sammila away when one of Alexander's relatives shoots him. Anne arrives in a hurry and happens to witness Alexander's death as a rainstorm falls. Sammila flees the village and runs toward an old monastery. On the other side of the mountain, in the sun, the young priest Corey and the older priest are picking tomatoes in the sun. The older priest says, "It's about to rain ......."

The subtlety of the narrative structure makes this movie exceptionally fascinating. By replaying the exchange between Father Corey and the older priest in its original form at the end of the movie, the film's plot structure goes from the end of the line back to the beginning. Narratively speaking, this is a flashback, but it breaks the normal rules of flashbacks, i.e., it does not bring out a relevant character in the drama to reminisce about the past, but rather, it brings the story to a loop. It is not until the end of the movie that the audience realizes that the three not-so-tightly-knit segments of the story are actually an interlocking whole. This is a creative use of film editing, where the story becomes a circle by simply finding the right cut point to place a piece of film in front of the end of the movie.

Of course, this cycle is not a closed circle, and the starting point and ending point are not simply repetitions or overlaps, as the film says, the circle is not round, but is in some sense implicit and sublimated. The director emphasizes this point intentionally or unintentionally in the final cut of the film, as he does not want the audience to passively obtain a complete experience. The beginning of the first part of the movie, "Language," is connected to the end of the third part, "Photographs," which describes Anne's hasty arrival in Macedonia, where she witnesses the shooting of her lover, Alexander Kirk. In the second part, "Faces," Anne examines with a magnifying glass the photograph of the body of Samira, the Albanian girl who, according to the logic of the film, has not yet been shot. The fact that the living are long dead and the dead are still alive, and that time is briefly confused, doesn't affect your judgment of reality. It's just that time is suspended, or rather magnified, in a quizzical way, but not in the traditional sense of taking shots from multiple angles and splicing them together to achieve a magnification of time.

Some may question the reasonableness of the editing, but it is precisely this "reasonableness" that binds us to creative movie editing. Proust, who had an infinite reverence for time, recreates it as he remembers it, while director Manchevsky, apparently dissatisfied with the traditional organization of space and time, wants to capture the possibility of juxtaposition of time***, collaging the three stories together, you can start with any one of them, but you can't make the three stories form an inevitable connection and get a consistent result.

There are many other puzzling details in the movie: why did the photographer take out a picture of his lover Annie to show the peacekeeping force officer on the bus home and say she was dead? And what about the fact that Annie witnessed the photographer's funeral? And is the photographer's uncle, whom Corey wants to join in London, the same Alexander who was martyred protecting the Albanian girl? For he himself said he was rushing back to attend his nephew's baptism. Anne receives a call in London from a Macedonian relative claiming to be the photographer, from Macedonia or London? Must we find a connection between them? The director deliberately and seriously abandons the "narrative" of self-explanation, without trying to achieve a successful outcome, but in fact, those incoherent parts are the ones that director Manchevski tries to transcend by means of editing.

What is certain here is that the movie "The Coming Storm" is definitely not a traditional movie made in accordance with the concept of "Three Uniforms", which, after being used three times in this movie, has produced a miracle: the original three paragraphs can be completely independent of each other, and the three paragraphs can be used as a chapter. The combination of the three paragraphs, their constant repetition, analogies, and echoes of each other, truly liberates the narrative and derails our single-mindedness from the existing chain of time and space concepts. It is this precise and open-ended connection between the three passages that gives the movie its complex and multifaceted form.

The major difference between traditional and modern narrative theory is that the latter offers a distinction between story and narrative. The narrative mechanism of The Coming Storm is ambitiously based on an attempt to break down the coherence, confinement and self-containment of space and time. This is the most constructive aspect of postmodernity, eliminating authority and center, but not avoiding the compassion and care for the current situation of human existence.

In fact, the movie also cleverly echoes the postmodern theme of the narrative mechanism in its details. For example, in the second paragraph, the movie first shows us a bathroom glass where we can't see anyone's face, and we can only hear the sound of a woman's crying. Next, the film shows us the heroine's busy schedule, the chaotic neighborhoods of London, including pop songs and sirens. When we see the long street scene of London reflected in the glass of the cab window, obscuring the two lovers making out, it is a typical post-industrial human condition: people who are well-fed and well-coated can still not hide their inner turmoil and chaos. London is a peaceful place, but there are still gunshots coming from Oxford Street. The weather forecasts continue to report rain in London, and Alexander, who suffers from rheumatoid arthritis, feels pain in his bones. In the third passage, Alexander questions the "no choice", "objective, real" image art, he gave up his career with the intention of atonement, forgetting his Pulitzer Prize, hoping to return to his hometown to wash his soul. The final shot of this sequence is of Alexander looking down, blood pouring out of the bullet hole in his chest, as the rainstorm finally arrives. The care with which all these details are set up certainly makes the unconventional editing of the entire film more plausible, and stops us from misinterpreting the film's editing as a blunder or an irreplaceable loss of the film that has already been shot.

"The Coming Storm" is one of those films that lingers in your mind, like a never-ending loop that moves toward its end and back to its beginning, all with the same words on a rock in Macedonia or on a wall in the streets of London: Time doesn't pass, the circle doesn't.

What makes the movie such a masterful narrative and break with tradition is the editing of the passages and shots, which is undoubtedly a feast of movie editing that will leave you y impressed and awestruck.